of a true artist (Fig. 14).  The design is like a hasty memorandum of Leech’s.  Then compare the stiff formality of the modern Eskimo drawing (Fig. 13).  It is rather like a record, a piece of picture-writing, than a free sketch, a rapid representation of what is most characteristic in nature.  Clearly, if the Eskimo come from palaeolithic man, they are a degenerate race as far as art is concerned.  Yet, as may be seen in Dr. Rink’s books, the Eskimo show considerable skill when they have become acquainted with European methods and models, and they have at any rate a greater natural gift for design than the Red Indians, of whose sacred art the Thunderbird brooding over page 298 is a fair example.  The Red Men believe in big birds which produce thunder.  Quahteaht, the Adam of Vancouver’s Island, married one, and this (Fig. 11) is she.

[Fig. 11.  Red Indian art — the Thunderbird:  298.jpg]

[Fig. 13.  Eskimo Drawing — A Reindeer hunt:  300.jpg]

[Fig. 14.  Palaeolithic sketch — a reindeer:  301.jpg]

We have tried to show how savage decorative art supplied the first ideas of patterns which were developed in various ways by the decorative art of advancing civilisation.  The same progress might be detected in representative art.  Books, like the guide-book to ancient Greece which Pausanias wrote before the glory had quite departed, prove that the Greek temples were museums in which the development of art might be clearly traced.  Furthest back in the series of images of gods came things like that large stone which was given to Cronus when he wished to swallow his infant child Zeus, and which he afterwards vomited up with his living progeny.  This fetich-stone was preserved at Delphi.  Next came wild bulks of beast-headed gods, like the horse-headed Demeter of Phigalia, and it seems possible enough that there was an Artemis with the head of a she-bear.  Gradually the bestial characteristics dropped, and there appeared such rude anthropomorphic images of Apollo—­more like South Sea idols than the archer prince—­as are now preserved in Athens.  Next we have the stage of semi-savage realism, which is represented by the metopes of Selinus in Sicily, now in the British Museum, and by not a few gems and pieces of gold work.  Greek temples have fallen, and the statues of the gods exist only in scattered fragments.  But in the representative collection of casts belonging to the Cambridge Archaeological Museum, one may trace the career of Greek art backwards from Phidias to the rude idol.

‘Savage realism’ is the result of a desire to represent an object as it is known to be, and not as it appears.  Thus Catlin, among the Red Indians, found that the people refused to be drawn in profile.  They knew they had two eyes, and in profile they seemed only to have one.  Look at the Selinus marbles, and you will observe that figures, of which the body is seen in profile, have the full face turned